Sumi Jo brings her A-game
Soprano Sumi Jo At the NAC’s Southam Hall Reviewed Friday night
Ah, the late 1980s and early 1990s: an era of big hair, big dresses, and big divas. Twentyfive years ago, when the CD was still king, a handful of talented, photogenic young singers with outsized personalities were starting their reigns as the queens of the opera and concert stage. Women like Cecilia Bartoli and Natalie Dessay epitomized the optimism and excess of the time, with perhaps none glittering more than the Korean soprano Sumi Jo.
Jo was one of the first Asianborn singers to have a major career in Europe, and was one of the last young musicians to be personally mentored by Karajan. Her stratospheric, exceptionally secure lyric coloratura voice made her the soprano of choice for bel canto heroines and acrobatic Mozart and Strauss roles. But by the early 2000s, vocal problems had led to a spate of high-profile cancellations. Over the past decade, whether by her own design or as a result of skittish opera houses, Jo’s career has shifted heavily to recitals and recordings.
Jo’s Ottawa concert Friday night was presented by the Korean Embassy to honour Canadian veterans of the Korean War. The soprano was joined by Quebec baritone Jean-François Lapointe and I Musici de Montréal under Jean-Michel Malouf (there’s a repeat performance in Montreal on Dec. 1).
Many older coloraturas switch to less taxing repertoire, but Jo has refused to give in. The program featured several nightingale arias, and while there were moments of absolute brilliance— some dazzling displays of dynamic control, for example— Jo could not consistently negotiate their roller-coaster tracks.
Some extreme high notes sounded raspy, and her runs and flourishes did not always display that laser-cut clarity that was her hallmark. The Doll Aria from Tales of Hoffmann and Dunque io son from the Barber of Seville both sounded oddly nasal and breathy.
Jo is notorious for her elaborate wardrobe, and she brought her fashionista A-game with no fewer than three gown changes, all figure-hugging, fit and flare designs with corset-detail backs and dripping with sequins, feathers, and ruffles.
At least Jo’s appearance is still girlish enough for her to get away with such extravagance, even if the voice sometimes shows its age.